18 November 2015 § Leave a comment
The preview day of Frieze always provides plenty of visual stimulation – both on and off the exhibiting gallery walls. As we shimmied past the likes of Benedict Cumberbatch, Tom Hooper, Tommy Hilfiger and Valentino we made our way around the fair to see what was on offer this year.
Glenn Brown was our undisputed favourite this year with a stand full of great pieces at Gagosian, including these examples of both oil and sculpture.
The young sensation Eddie Peake had two stunning works on show.
There were two superb Michael Fullerton portraits showing at the Carl Freedman Gallery.
The underrated Billy Childish had a large scale work, also at Carl Freedman.
A colourful large scale Allen Jones was a great example of his work.
Ai Weiwei has been dying his roots.
Self Portrait in bath by Tracey Emin underwhelmed us, but here are some others that drew our attention:
Frieze London runs until Saturday 17 October 2015. For more information visit www. friezelondon.com
For more information visit www. friezemasters.com
Images by CELLOPHANELAND* and courtesy of Frieze
31 July 2014 § Leave a comment
3 February 2014 § Leave a comment
Paul McCarthy is a heavyweight of the contemporary art world. represented by Hauser & Wirth his work can be found in the most important collections and most major public galleries worldwide. It is therefore somewhat of a surprise – and rather a coup for the gallery – to come across an exhibition of his work at [space] studios in Bethnal Green.
The most familiar pieces by McCarthy are probably the debauched, graphic and tragi-comic sculptures and installations (example ‘Bushed’ above) but he is also well known for working in a broad spectrum of media, and emphasis upon performance as a tool for breaching established boundaries between genres.
While McCarthy’s earliest work explored and disrupted the formal properties of minimalist art, in the early 70s, he began to document himself executing swift, psychologically taut performances.
In contrast to the spectacular ambition of his later installations and public sculptures, the Black and White Tapes (as these performances came to be known) feature the artist alone or lightly accompanied in his studio. Making use of whatever materials are in the room – emulsion paint, rags, a phone book, cotton wool and crucially, his own body, McCarthy undertakes single, repetitive or punitive acts for the camera.
[space] has dedicated its largest gallery space to a thirteen period video monitors, equally spaced across the darkened room, all playing consecutively. Immersive a cacophonous it is a fitting environment for a McCarthy ‘experience’.
In these grainy black and white video images we encounter the artist in action: drawing an emulsion line along the studio floor using only his face, tugging urgently at his testicles, whipping and swinging at the studio walls with a paint soaked rag and spitting directly into the lense of the fixed frame camera.
Adopting ritualistic repetition, making use of fluids and props and using his body to act out dysfunctional movements and traumatic narratives, the Black and White Tapes is essential to understand McCarthy’s later work and represent a vital document in the evolution of the artist’s practice.
Tip: Perhaps combine a visit here with a visit to galleries like Maureen Paley, Transition and Wilkinson Galleries in the local area. The Museum of Childhood is interesting and a few minutes walk down the road.
Until 16 March 2014
[space] 129—131 Mare Street, LONDON E8 3RH
tel020 8525 4330
11 January 2014 § Leave a comment
A weekend in Paris allowed me the opportunity to visit this breathtaking exhibition at the Centre Pompidou, as well as enjoy some excellent art, interesting sights and fine food counterposed by rude service, lousy cappuchinos and overpriced coffee and bread (or petit dejeuner as the French imaginatively call it).
There shouldn’t be a better place than Paris for an exhibition on Surrealism, the movement being founded here in 1924 having developed out the more international influences of Dada. The Pompidou Centre have proved that this is indeed the case, with this mightily impressive exhibition bringing together a remarkable collection of almost every conceivable iconic object or sculpture connected to the movement.
Alongside the roll call of iconic pieces like Hans Bellmer’s Poupee, Marcel Duchamp’s Bottlerack, Salvador Dali’s Lobster Telephone, Alberto Giacometti’s Suspended Ball are photographs from the likes of Man Ray, collections of works gathered plus a selection of more recent surrealist-influenced works by the likes of Mark Dion, Paul McCarthy, Ed Ruscha and Cindy Sherman exhibited under the title ‘Echoes of the Surrealist Object’.
The exhibition starts with ‘Ready-mades and Mannequins’, a section led by two great influences of the movement – Giorgio de Chirico and Marcel Duchamp who respectively brought the mannequin and object to the fore.
Subsequent rooms focus on ‘Objects with a Symbolic Function, Alberto Giacometti, Hans Bellmer’s Doll (an extraordinarily powerful object in real-life, and also larger than one imagines), five rooms each dedicated to iconic exhibitions from the famous ‘Exposition Internationale de Surrealisme’ in 1933 to ‘Eros’ in 1959/60.
Each room is well curated and nicely laid out with admirable logic, careful thought and atmospheric lighting.
This opportunity to view so many of Surrealisms iconic objects together plus the insight in to the movement that can be gained from the experience well worth a trip to Paris on its own. Just take your own breakfast.
Le Surrealisme et l’Objet runs until the 3 March 2014 at the Pompidou Centre, Paris.
18 October 2012 § Leave a comment
Another uninspiring Frieze his year. I suppose that once the art world has – like every year – built it up to be the London event of the year there is only one result: some degree of disappointment. Despite this Frieze of course remains the best UK contemporary art fair and a must visit to try at catch a whiff of the zeitgeist of the contemporary art market. Here are a few of the things that caught our eye this year. No particular reason. No particular order. No analyses of who sold what. And most definitely no ‘who was seen where’ nonsense.
A melting Paul McCarthy White Snow Head at Hauser & Wirth.
A Gavin Turk neon door.
Julian Opie‘s rather neat sculptures – and a mosaic.
One of a few large and impressive Wolfgang Tillmans images.
Something made of some substance made by somebody South American (I think?)
And outside, in the rain a pretty Yayoi Kusama from Victoria Miro.